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HACKING OUT A STORY
My Fellow Writers,
Last time around, I talked about the importance of choosing a premise that is personal, original, and emotionally resonant. It's all part of trying to avoid mediocrity in your script. But once you've got the killer premise, the next step is to continue to apply the same high standards to the story and structure of the screenplay.
The most common note that shoots scripts down is that they don't live up to the potential of their premise. Again, this often boils down to two basic areas: emotion and originality.
Transforming a premise into a story - often called "breaking story" - is perhaps the most difficult, crucial, and creative part of the writing process. It's the first time you see the movie in your head, and the choices that you make while breaking story will determine the way that you write that first draft. And once you write that first draft, it's often very difficult to change things a great deal without starting over.
This is why we have to take such great care while breaking story. We can't settle for a scene just because it works on one level, or has a character spouting off cool lines, or some other one-dimensional thing. It has to SING! I mean, the final version of it has to feel like a movie. The first draft version doesn't have to be perfect of course, but you should feel a reservoir of potential and emotion under it. It has to do all those things I've mentioned - move the story along, sharpen characters, keep up the pace, and develop themes. And it has to be original.
Don't let all this big talk about perfection and high standards handcuff you. I always quote him, but here he is again - "The first draft of everything is shit." (Ernest Hemingway). All I'm saying is that you should hold yourself to a higher standard. Go for story choices that are memorable, not things that just get the job done. Imagine that there are a million ways to do your scene. The first way you think of might be in the top 100. Shoot for the top 10. In later drafts, try to hit that perfect note. Think about the movies that are already made, or your favorite screenplays. They hit those high notes every page and every minute.
The point is, by keeping your standards high, you can avoid hacking out an uninspired story, and you'll be ready to take on the next two aspects of screenwriting - character and dialogue - which I'll talk about in the next couple of weeks.
Best of luck. I'm off to work.
Storybreaking,
Grady
P.S. When I first started writing this column, I talked about starting a writing streak. I've heard from some of you that are still going. Anyone else writing every day, at least an hour? If not, start the streak and let me know how it's going. I'm at EmailGrady@aol.com. |
